English Standard Version
Now the glory of the God of Israel had gone up from the cherub on which it rested to the threshold of the house. And he called to the man clothed in linen, who had the writing case at his waist.
King James Bible
And the glory of the God of Israel was gone up from the cherub, whereupon he was, to the threshold of the house. And he called to the man clothed with linen, which had the writer's inkhorn by his side;
American Standard Version
And the glory of the God of Israel was gone up from the cherub, whereupon it was, to the threshold of the house: and he called to the man clothed in linen, who had the writer's inkhorn by his side.
And the glory of the Lord of Israel went up from the cherub, upon which he was, to the threshold of the house: and he called to the man that was clothed with linen, and had a writer's inkhorn at his loins.
English Revised Version
And the glory of the God of Israel was gone up from the cherub, whereupon it was, to the threshold of the house: and he called to the man clothed in linen, which had the writer's inkhorn by his side.
Webster's Bible Translation
And the glory of the God of Israel had gone up from the cherub on which he was, to the threshhold of the house. And he called to the man clothed with linen, who had the writer's inkhorn by his side;
Ezekiel 9:3 Parallel
CommentaryKeil and Delitzsch Biblical Commentary on the Old Testament
Second Abomination: Worship of Beasts
Ezekiel 8:7. And He brought me to the entrance of the court, and I saw, and behold there was a hole in the wall. Ezekiel 8:8. And He said to me, Son of man, break through the wall: and I broke through the wall, and behold there was a door. Ezekiel 8:9. And He said to me, Come and see the wicked abominations which they are doing here. Ezekiel 8:10. And I came and saw, and behold there were all kinds of figures of reptiles, and beasts, abominations, and all kinds of idols of the house of Israel, drawn on the wall round about. Ezekiel 8:11. And seventy men of the leaders of the house of Israel, with Jaazaniah the son of Shaphan standing among them, stood in front, every man with his censer in his hand; and the smell of a cloud of incense arose. Ezekiel 8:12. And He said to me, Seest thou, son of man, what the elders of the house of Israel do in the dark, every one in his image-chambers? For they say: Jehovah doth not see us; Jehovah hath forsaken the land. - The entrance of the court to which Ezekiel was now transported cannot be the principal entrance to the outer court towards the east (Ewald). This would be at variance with the context, as we not only find the prophet at the northern entrance in Ezekiel 8:3 and Ezekiel 8:5, but at Ezekiel 8:14 we find him there still. If he had been taken to the eastern gate in the meantime, this would certainly have been mentioned. As that is not the case, the reference must be to that entrance to the court which lay between the entrance-gate of the inner court (Ezekiel 8:3) and the northern entrance-gate to the house of Jehovah (Ezekiel 8:14), or northern gate of the outer court, in other words, the northern entrance into the outer court. Thus the prophet was conducted out of the inner court through its northern gate into the outer court, and placed in front of the northern gate, which led out into the open air. There he saw a hole in the wall, and on breaking through the wall, by the command of God, he saw a door, and having entered it, he saw all kinds of figures of animals engraved on the wall round about, in front of which seventy of the elders of Israel were standing and paying reverence to the images of beasts with burning incense. According to Ezekiel 8:12, the prophet was thereby shown what the elders of Israel did in the dark, every one in his image-chamber. From this explanation on the part of God concerning the picture shown to the prophet, it is very evident that it had no reference to any idolatrous worship practised by the elders in one or more of the cells of the outer court of the temple. For even though the objection raised by Kliefoth to this view, namely, that it cannot be proved that there were halls with recesses in the outer court, is neither valid nor correct, since the existence of such halls is placed beyond the reach of doubt by Jeremiah 35:4; 2 Kings 23:11, and 1 Chronicles 28:12; such a supposition is decidedly precluded by the fact, that the cells and recesses at the gates cannot have been large enough to allow of seventy-one men taking part in a festive idolatrous service. The supposition that the seventy-one men were distributed in different chambers is at variance with the distinct words of the text. The prophet not only sees the seventy elders standing along with Jaazaniah, but he could not look through one door into a number of chambers at once, and see the pictures draw all round upon their walls. The assembling of the seventy elders in a secret cell by the northern gate of the outer temple to worship the idolatrous images engraved on the walls of the cell, is one feature in the visionary form given to the revelation of what the elders of the people were doing secretly throughout the whole land. To bring out more strikingly the secrecy of this idolatrous worship, the cell is so completely hidden in the wall, that the prophet is obliged to enlarge the hole by breaking through the wall before he can see the door which leads to the cell and gain a view of them and of the things it contains, and the things that are done therein.
(Note: "Because the whole is exhibited pictorially and figuratively, he says that he saw one hole in a wall, and was directed to dig through and make it larger, that he might enter as if through an open door, and see the things which he could not possibly have seen while stationed outside." - Jerome.)
And the number of the persons assembled there suggests the idea of a symbolical representation, as well as the secrecy of the cell. The seventy elders represent the whole nation; and the number is taken from Exodus 24:1. and Numbers 11:16; Numbers 24:25, where Moses, by the command of God, chooses seventy of the elders to represent the whole congregation at the making of the covenant, and afterwards to support his authority. This representation of the congregation was not a permanent institution, as we may see from the fact that in Numbers 11 seventy other men are said to have been chosen for the purpose named. The high council, consisting of seventy members, the so-called Sanhedrim, was formed after the captivity on the basis of these Mosaic types. In the midst of the seventy was Jaazaniah the son of Shaphan, a different man therefore from the Jaazaniah mentioned in Ezekiel 11:1. Shaphan is probably the person mentioned as a man of distinction in 2 Kings 22:3.; Jeremiah 29:3; Jeremiah 36:10; Jeremiah 39:14. It is impossible to decide on what ground Jaazaniah is specially mentioned by name; but it can hardly be on account of the meaning of the name he bore, "Jehovah heard," as Hvernick supposes. It is probable that he held a prominent position among the elders of the nation, so that he is mentioned here by name as the leader of this national representation.
On the wall of the chamber round about there were drawn all kinds of figures of רמשׂ וּבהמה, reptiles and quadrupeds (see Genesis 1:24). שׁקץ is in apposition not only to בּהמה, but also to רמשׂ, and therefore, as belonging to both, is not to be connected with בּהמה in the construct state. The drawing of reptiles and quadrupeds became a sheqetz, or abomination, from the fact that the pictures had been drawn for the purpose of religious worship. The following clause, "and all the idols of the house of Israel," is co-ordinate with 'כּל־תּבנית וגו. Besides the animals drawn on the walls, there were idols of other kinds in the chamber. The drawing of reptiles and quadrupeds naturally suggests the thought of the animal-worship of Egypt. We must not limit the words to this, however, since the worship of animals is met with in the nature-worship of other heathen nations, and the expression כּל־תּבנית, "all kinds of figures," as well as the clause, "all kinds of idols of the house of Israel," points to every possible form of idol-worship as spread abroad in Israel. עתר, according to the Aramaean usage, signifies suffimentum, perfume, בּחשׁך, in the dark, i.e., in secret, like בּסּתר in 2 Samuel 12:12; not in the sacred darkness of the cloud of incense (Hvernick). חדרי משׂכּית, image-chambers, is the term applied to the rooms or closets in the dwelling-houses of the people in which idolatrous images were set up and secretly worshipped. משׂכּית signifies idolatrous figures, as in Leviticus 26:1 and Numbers 33:52. This idolatry was justified by the elders, under the delusion that "Jehovah seeth us not;" that is to say, not: "He does not trouble Himself about us," but He does not see what we do, because He is not omniscient (cf. Isaiah 29:15); and He has forsaken the land, withdrawn His presence and His help. Thus they deny both the omniscience and omnipresence of God (cf. Ezekiel 9:9).
Treasury of Scripture Knowledge
And behold, six men came from the direction of the upper gate, which faces north, each with his weapon for slaughter in his hand, and with them was a man clothed in linen, with a writing case at his waist. And they went in and stood beside the bronze altar.
And the glory of the LORD went up from the cherub to the threshold of the house, and the house was filled with the cloud, and the court was filled with the brightness of the glory of the LORD.
Then the cherubim lifted up their wings, with the wheels beside them, and the glory of the God of Israel was over them.
And the glory of the LORD went up from the midst of the city and stood on the mountain that is on the east side of the city.
Jump to PreviousCase Cherub Cherubim Clothed Crying Doorstep Glory Honour House Inkhorn Ink-Horn Israel Kit Linen Moved Ones Rested Resting Side Temple Threshhold Threshold Whereupon Winged Writer's Writing
Jump to NextCase Cherub Cherubim Clothed Crying Doorstep Glory Honour House Inkhorn Ink-Horn Israel Kit Linen Moved Ones Rested Resting Side Temple Threshhold Threshold Whereupon Winged Writer's Writing
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